On Jun 30, 2011, at 10:00 AM, [email protected] wrote:

> Message: 10
> Date: Wed, 29 Jun 2011 19:22:19 -0700 (PDT)
> From: Milton Kicklighter <[email protected]>
> Subject: Re: [Hornlist] stopping notes with the tongue, etc.
> To: The Horn List <[email protected]>
> Message-ID:
>       <[email protected]>
> Content-Type: text/plain; charset=iso-8859-1
> 
> You know Wendell I think it works both ways.? Certainly when we are playing 
> at 
> an up tempo the tongue stops the note we are playing while preparing the next 
> note.? The question:? Is the tongue stopping the note? we are playing or is 
> it 
> starting the next note???Is it a before or after.? I think both, we just 
> define 
> it or perceive it in a different way.? Is the glass half full or half empty?
> ?
> As for stopping the note with the tongue all the time... it seems some are 
> thinking either one or the other.... I use the opening of the solo in Tsch 
> 5.? 
> as a test example.? Does one stop the note at the end of the first short 
> phrase 
> with the tongue or??? do we just stop the note by just stopping the breath as 
> would a singer.
> ?
> Try it out guys and tell me which one you do!!?? 
> 
> ?
> Milton
> 
> Milton Kicklighter
> 4th Horn Buffalo Philharmonic
> Retired


 HI MIlton,
Geez, these discussions really do get off track at times. Why would anyone want 
to stop notes with the tongue on Tchaich 5? Why do all discussions these days 
seem to head to zero sum games? Why all or nothing all the time? What I am 
talking about is the use of the tongue to stop notes for staccato in certain 
situations, mostly for slower staccato. I really shouldn't even bring it up on 
here because of all the crazy responses.
And again, WE ARE NOT SINGERS.
The biggest problem most people have is stopping or reducing their air flow 
while playing. That usually happens because they are not taking enough air in 
to begin with and then they reduce their air flow even further when they 
tongue. Tonguing, as Jake would say is just a burnishing tool in the greater 
world of wood working. A lot of people lower their air flow to detrimental 
effect when they are tonguing because of all the stuff about throat control and 
other things that have nothing to do with tonguing. By pronouncing with the 
tongue and suitable vowel sounds we can take the throat out f the equation and 
just play naturally.
At high speeds, I do not recommend cutting notes off or practice it myself. It 
is NOT NECESSARY and only gets in the way. Most people who are having problems 
with high speed staccato or high speed single tonguing in general are working 
too hard at it. You need to lighten up as you go faster, but many people do 
just exactly the opposite.
It's not brain surgery or some mysterious activity. Here is what I am talking 
about so there is no more speculation. I am advocating the use of the word toot 
(or teet or whatever, as long as it has a vowel in the middle) to create 
staccato notes in certain situations. IF DONE CORRECTLY, it can produce better, 
more controllable staccato than any other method. the key is having the vowel 
in the middle so you don't get the dreaded tt sound that everyone hates and 
uses as a reason to not EVER cut off notes with the tongue.
I demonstrate this fully on my DVD, and i would challenge anyone listening to 
me play to be able to tell when I am doing it live. It's all about getting the 
musical effect that you want. 
Brain didn't like slurring so he legato tongued all the time. Can we tell? I, 
for one, didn't realize it for a long time. he got the effect he was after. His 
fast tonguing is superb and his staccato is amazing, but sometimes we hear the 
note cutoffs, but unless you are somehow adverse to that musically, he does 
them to great effect, as do many great players, especially from that era.
Sincerely,
Wendell Rider
For information about my book, "Real World Horn Playing" and the DVDs, go to my 
website: www.wendellworld.com



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